
EnUr^, acconllaffto Act of Conirvwi, in the year 18Tn bv Gkorof. M. Babk«, In the Offlce of th« 
l.ihrariaa of CuotcrvM. at Washlnatun. 



r 



o-;^cxAQtj(Xi^QCj;QOQOQOQoaoQ'QQOO'G;QQGogoa-a^gaa'Q;aoa- 



1 



SPEirCER'S OTIVERSAL STAGE 



A Collection of COMEDIES, DRAMAS, and FARCES, adapted to either Public 
or Private Performance. Containing a full description of all 
' the necessary Stage Business. 



i) 



PRICE, 15 CENTS EACH. ^^ No flays exchanged. 



r<ost in Hiondon. A Drama iu 
Three Acts. 6 Male, 4 Female char- 
acters. 

Nicliolas Flam. A Comedy in Two 
Acts. By J. B. Buckstone. 5 Male, 
3 Female characters. 

The Welsh Girl. A Comedy in 
One Act. By Mrs. Planche. 3 Male, 
2 Female characters. 

Jolin Wopps. A Farce in One Act; 
By W. E. Suter. 4 Male, 2 F'emale 
characters. 

The Turkish Bath, A Farce in 
One Act. By Montague Williams 
and F. C. Burnand. 6 Male, 1 Fe- 
male character. 

The Two Puddifoots. A Farce 
in One Act. By J. M. Morton. 3 
Male, 3 Female characters. 

Old Honesty. A Comic Drama in 
Two Acts. By J. M. Morton. 6 
Male, 2 Female characters. 

T^vo Gentlemen in a Fix. A 
Farce in One Act. By W. E. Suter. 

2 Male characters. 
(J) 9. Smashington Goit. A Farce in 

One Act. By T. J. Williams. 5 Male, 

3 Female characters. 
Two Heads Better thanOne. A 

Farce in One Act. By Lenox Home. 

4 Male, 1 Female character. 
John I>ohhs. A Farce in One Act. 

By J. M. Morton. 6 Male, 2 Female 
characters. 

The Daughter of the Regi- 
ment. A Drama in Two Acts. By 
Edward Fitzball. 6 Male, 2 Female 
characters. 

Aunt Charlotte's Maid. A Farce 
in One Act. By J. M. Morton. 3 
Male, 3 Female characters. 

Brother Bill and Me. A Farce in 
One Act. By W, E. Suter. 4 Male, 
3 Female characters. 

Bone on Both Sides. A Farce in 
One Act. By J. M. Morton. 3 
Male, 2 Female characters. 

Bunduclcetty's Picnic. A Farce 
in One Act. Byrfft J. Williams. 6 
Male, 3 Female characters. 

(J) 17. I've -^vritten to Browne. A Farce 
in One Act. By T.J.Williams. 4 
Male, 3 Female characters. 



10. 



12. 



c) 



L 



22. 



23. 



24. 



25. 



26. 



27. 



28. 



30. 



31. 



18. Lending a Hand. A Farce in One 

Act. By U. A. A'Becket. 3 Male, 

2 Female characters. 

19. My Precious Betsy. A Farce in (J) 

One Act. By J. M. Morton. 4 Male, 
4 Female characters. 

20. My Turn Next. A Farce in One Act. 

By T. J. Williams. 4 Male, 3 Fe- 
male characters. 

21. IVine Points of the La^v. A Com- 

edy in One Act. By Tom Taylor. 
4 Male, 3 Female characters. 

The Phantom Breakfast. A 
Farce in One Act. By Charles Sel- v ^ 
by. 3 Male, 2 Female characters. ^ 

Bandelions Bodges. A Farce in 
One Act. Bv T. J. Williams. 4 
Male, 2 Female characters. 

A Slice of truck. A Farce in One 
Act. By J. M. Morton. 4 Male, 2 
Female characters. 

Alw^ays Intended. A Comedy in 
One Act. By Horace Wigan. 3 
Male, 3 Female characters. 

A Bull in a China Shop. A Com- 
edy in Two Acts. By Charles Mat- 
thews. 6 Male, 4 Female characters. 

Another Glass. A Drama in One 
Act. By Thomas Morton. C Male, 

3 Female characters. 
Bo-*vled Out, A Farce in One Act. 

By H. T. Craven. 4 Male, 3 Female 

characters. 
29. Cousin Tom. A Commedietta in 

One Act. By George Roberts. 3 

Male, 2 Female characters. 
Sarah's Young Man. A Farce in (j) 

One Act. By W. E. Suter. 3 Male, ( j^ 

3 Female characters. ( 3 

Hit Him, He has IVo Friends. %) 

A Farce in One Act. By E. Yates 



(i) 



() 



(') 



and N. H. Harrington. 
Female characters. 



7 Male, 3 ; 



() 



32. The Cliristening. A Farce in One ( > 

Act. ByJ.B. Buckstone. 5 Male, p 
G Female characters. 

33. A Race for a Wido^v. A l<arce (1) 

in One Act. By Thomas J. Wil- ( )) 
Hams. 5 Male, 4 Female characters, l ) 

34. Your Iiife's in Banger. A Farce ( } 

in One Act. By J. M. Morton. 3 ( 3 
Male, 3 Female characters. ( ;) 

35. True unto Beath. A Drama in ( ) 

Two Acts, By J. Sheridan Knowles. ^ 
G Male, 2 Female characters. 



KQr^jODt} ' €/^'OOQ'OQ'OOtO ' i:)€yOQ'OQL}^X:.Q'C&CjQ'OQ'OQ 



^ 



THE BOSTON DIP. 

/ 

BY THE AUTHOR OF 

" Sjivia's Soldier," 

" Once on a Time," " Down by the Sea," " The Last Loaf," 

" Bread on the Waters," " Stand by the Flag," " The Tempter," " A Drop too 

Much," " We're all Teetotalers," "A Little more Cider," " Thirty Minutes 

for Kefreshments," " Wanted, a Jlale Cook," "A Sea of Troubles," 

" Freedom of the Press," " A Close Shave," " The Great 

Elixir," " The Man with the Demijohn," " Humors of 

the Strike," " New Brooms swjiep Clean," "My 

Uncle the Captain," " The Greatest Plague 

in Life," " No Cure, no Pay," " The 

Grecian Bend," '^ War of the 

Hoses," " Lightheart's 

Pilgrimage," 

" The 

Sculptor's 

Triumph," "Too 

VA- Late for the Train," 

" Snow-Bound," " The Ped- 
dler of Very Nice," " Bonbons," 
" Capuletta," " An Original Idea," " My 
Brother's Keeper," " Among the Breakers," 
•^'The Boston Dip," " The Duchess of Dublin," " A 
Tender Attachment," "Gentlemen of the Jury," "A Public 
Benefactor," " The Thief of Time," "The Hypochondriac," "The 
Runaways," " Coals of Fire," " The Ked Chignon," " Using the Weed," 
- " A Love of a Bonnet," " A Precious Pickle," " The Revolt 
of the Bees," " The Seven Ages," 
«&c.,&c.,&c- 



/Sa-^^^-^, 



BOSTON: 

GEORGE M.. BAKER & CO., 

149 Washington Street. 






<Ia?'^'C 



Kntered. acooi-ding to Act of Congress, in the year 1873 by 

GEORGE M. BAKER, 

In the Office of the Librarian of Congress at "Washington. 



Rand, A very, '&> F rye* Printers, Boston. 



THE BOSTON DIP. 



A COMEDIETTA, IN ONE ACT. 



CHARACTERS. 

Mr. Moses Mclligrub, once Proprietor of a 

Fit;h-cart, now a rich Speculator. 
Monsieur Adonis, a Dancing-Master. 
Mr. Richard Dasher, a Fast Man. 
Mr. Lavender Kids, an Exquisite. 
Mrs. Moses Mulligrub. 
Miss Ida Mulligrub. 
Miss Eva Mulligrub. 



COSTUMES. 

Full Evening Dress. 



Scene. — Handsome drawing room in Monsiedr Adonis's 
Academy. Entrances, R., L., and c. Lounges^ r. and 
L. Screen^ l. corner^ hack. Two chairs, r. and l. of 
door in flat. 

215 



216 THE BOSTON DIP. 



Musicj as curtain rises, Strauses waltz, " Beautiful Blue 
Danube." Miss Ida and Miss Eva discovered tvaltz- 
ing, introducing " The Boston Dip.'* They lualtz a few 
moments, the7i stop. Music ceases. 

Ida. Now, isn't that delightful? 

Eva. Delightful ! It's positively bewitching. Bless 
that dear Monsieur Adonis. He deserves a crown of 
roses for introducing to his assembly the latest Terpsi- 
chorean novelty. O, we shall have a splendid time to- 
night ! 

Ida. Especially as those charming waltzers, Messrs. 
Hichard Dasher and Lavender Kids, " the glass of 
fashion and the mould of form," are to honor us with 
their presence. 

- Dva. Yes, indeed. What would the dance bo without 
them ? 

Ida. Not worth the trouble of dressing. But don't 
you think that Mr. Dasher is a little too attentive to Miss 
Eva Mulligrub, — eh, sister? 

Eva. Not more attentive, certainly, than is Mr. Laven- 
der Kids to her charming sister, Miss Ida Mulligrub. — 
Eh, sister? 

Ida. But seriously, Eva, I begin to think that you 
are carrying this matter a little too far. Mr. Dasher 
might reasonably expect, from the partiality you unhesi- 
tatingly show for his society, and the smiles you bestow 
upon him, to be considered your lover. 

Dva. You begin to think. Why, bless you, Ida, I've 
thought and thought and thought, for a long time, that 



THE BOSTON DIP. 217 

were I Mr. Lavender Kids, I should pop the question at 
once, so undeniably entranced are you by his attentions. 

Ida, Eva ! 

Eva. Ida ! 

Ida. You're talking nonsense. 

Eva,. Well, you began it. 

Ida. But you know you like Mr. Dasher. 

Eva. To be sure I do. He's the best waltzer in the 
city. Graceful, agreeable, and decidedly good-looking. 

Ida. And you would marry him ? 

Eva. Not unless he asked me, and then — 

Ida. And then — 

Eva. I should remember that he is considered a for- 
tune-hunter, that he is too fond of horses, that possibly 
he might have an eye on father's bank-book, that I don't 
want such a husband, and should very sweetly, calmly, 
but decidedly say, No, thank you, Mr. Dasher. 

Ida. Exactly what I should say to Mr. Kids, without 
the sweetness and calmness. 

Eva. I hope we shall not have the chance, for then, 
of course, we should lose their society — and they are 
such superb waltzers. 

Ida. But what in the world could have possessed 
mother to have us come so early. Hurry, girls, hurry ! 
And here we are before the hall is lighted. 

Eva. I'm sure I don't know. It's one of her whims. 
One would hardly think that, at her age, she would care 
for danciug. 

Ida. But she does. I caught her to-day attemptiug a 
waltz before the glass in her room ; and such work as she 
did make of it ! 



218 THE BOSTON DIP. 

Eva. She's not very nimble with her weight of years 
and flesh, but she would come to-night, and without 
father, too. 

Ida. Catch him in such a place ! No doubt he's 
already snoring at home in his easy-chair, speculating on 
corner lots in his dreams. 

Eva. Better that than the old life, dragging a hand- 
cart through the streets, and shouting, *' Cod ! haddock ! 
halibut ! eel — eel — eel — eels ! " 

Ida. Why, Eva, don't speak of that ; and such a 
noise, too. 

Eva. Who cares. Everybody knows Avhat we once 
were, and I, for one, am not going to be ashamed of father's 
old occupation. lie has made money in an honest way : 
so let us have no false pride, Ida. " Cod ! haddock ! hali- 
but ! eel — eel — eel — eels ! " 

Enter Mrs. Mulligrub, c. 

Mrs. M. Well, I never ! Eva Mulligrub, I'm blush- 
ing with shame, petrified with mortification, and stunned 
with grief, to hear such words as those proceeding from 
your lips. I never heard such language before, never. 

Eva. Why, mother ! And I've heard father say those 
very words brought you to the window many a time 
when he passed ; that they were the bait by which you 
were caught, and that you were the best catch he ever 
made. 

Mrs. M. Fiddle-de-de ! That's his twaddle. We're 
above such language now. But come, girls, fix me np ! 
I'm all coming to pieces. Is that what's-its-name behind 
all right, and this thingumbob on my neck, and the what- 



THE BOSTON DIP. 219 

you-may-call-it on top of my head? Dear me, I'm all in 
a pucker. 

Ida. Everything about your dress is charming, 
mother. 

Mrs. M. Well, I'm glad on't. Now girls, look here, 
I've made an assignment with Munseer What's-his-name 
to-night. 

Eva. A what? 

Ida. Assignment? You mean an appointment. 

Mrs. M Well, it's all the same. I'm going to learn 
to do that dipper thiug, if I die for it. 

Eva. I don't understand. 

Ida. She means The Boston Dip. 

Mrs. M. That's it — where you go tipping about, 
while the fiddlers play Struse's Beautiful Blue Dan-tt-by. 

Eva. You, mother, learn to waltz ! 

3Irs. M. And why not? There's Mrs. What's-her- 
narae gets through it, and she's older and heavier than I. 
I'm going to learn it. What's the use of having money 
if you can't spin round like other folks. But don't say a 
word to your father. Bless me, how he would roar ! But 
he's safe at home, snoozing in his chair by this time. I've 
arranged it all. I've engaged this drawing-room for my 
own party, and when you're all dancing in the hall, 
Munseer A — A — what's-his-name will slip in here, and 
practice the waltz with me, and nobody will know any- 
thing about it until I'm deficient. 

Ida. Proficieut, mother. 

Mrs. 31. Well, what's the difference? It's all' ar- 
ranged. I'm not going to make a fool of myself before 
folks when I can pay for private lessons. 



220 



THE BOSTON DIP. 



Dasher appears^ c. 

Dasher (loud). Eureka! 

3Irs. 31. (starting). Good gracious! You what? 

Dasher. " Fortune favors the brave." Like Cassar, 
I came. I saw, and I'm overcome. May I come in? 

3Irs. 31. Certainly, Mr. Dasher. Your presence always 
adds a charm to our — what's-its-name — circular. 

Ida. Circle, mother. 

3Irs. 31. Well, what's the odds? 

Dasher. Thank you, Mrs. Mulligrub. You are ar- 
rayed like an empress ; Miss Ida, your costume is only 
eclipsed by your charming face ; Miss Eva — 

Eva. " Last but not least in our dear love," must of 
course be divine ; so spare my blushes and your breath. 
(Sits on lounge^ r.) 

Dasher. Thank you. And now congratulate me. I 
threw down my pen, after a hard fight with figures, to 
seek the lonely recesses of my bachelor's quarters, hear- 
tily sick of life, when it suddenly occurred to me that this 
evening Monsieur Adonis gives one of his charming as- 
semblies. Perhaps, thought I, there I may find rest for 
my weary brain from the figures of the ledger, which 
are dancing in my head, in the figures of the dance. But 
did I dream of falling into such charming society? No ; 
most emphatically and decidedly, no. Therefore, like 
Caesar — 

3Irs. 31. And pray, Mr. Dasher, who is this Csesar 
you're making such a fuss about? 

Ida. Why, mother ! 

3Irs. 31. La, child, there's nobody of that name I'm 
acquainted with. 



BOSTON DIP. 221 

Ida. You know, mother, Caesar was the great Roman 
general, who — 

Mrs. M. La, yes ; Mr. Dasher was only speaking 
metafrorically. CfBsar was the man who crossed the 
wliat's-its-name, and was stabbed by a brute. 

Eva. Never mind Csesar. Here's my card, Mr. 
Dasher. Of course your name will be the first I shall 
allow upon it. 

Dasher (sits on lounge beside Eva). Am I to be so 
highly honored. (Takes card.) 

Eva. For a waltz, and only one. 

3Irs. 31. La, child, don't be so unscrupulous. You'll 
dance till you drop if you get a chance. 

Ida. Hush, mother. 

Mrs. M. Now what's the matter with you? Mr. 
What's-his-name will dance with you, too. Don't be so 
'anxious. 

Ida. O, dear, was there ever such a torment. (^Sits 
on lounge., l.) 

Enter Kids, c. 

Kids (with glass to his eye). Now, weally ! Havel 
stumbled into the bodwaw of a bevy of enchanting god- 
desses ? — have I, weally ? 

Ida. O, Mr. Kids ! 

Eva. You have, weally, Mr. Kids. 

Dasher. Lavender, my boy, how are you ? 

Kids. And will the divine goddesses permit me to 
entaw, to disturb their tableaw of beauty with my horwid 
figgaw ? 

Eva. Yes, trot your horwid figgaw in, Mr. Kids. 

Mrs. M. Eva, I'm astonished at such language as 
those. Mr. Kids, we are delighted to see you. 



222 THE BOSTON DIP. 

Ida. Yes, indeed, Mr. Kids. I've kept my card for 
you. 

Kids. Divine creachaw, you overpowaw me — you do, 
Aveally. {^Sits on lounge beside Ida, and takes her card.) 
Just one w^altz? 

Eva. As many as you please, Mr. Kids. 

3Irs. M. Now that's what I call generous. I won- 
der where Mr. — no, Munseer — Adonis can be. {Re- 
tires up.) 

Eva. Mr. Dasher, how can you tell such falsehoods, 
when you know, that I know, that you know, we were to 
be here to-night. 

Dasher. What a knowing young lady. It's one of 
the frailties of masculine nature, Miss Eva. I'm glad I 
was not George Washington, for I should certainly have 
spoiled that hatchet story by a lie. Now I am here, 
dear Miss Eva, overpowered with the burden of a 
weighty secret, I am going to disclose it. I — I — 

Kids. I say, Dashaw, I've had my b wains surveyed 
to-day. 

Dasher. Have you ? I didn't know you had any. 

Kids. Yaas, several. Destwuctiveness, combativeness, 
idolitwy — 

Dasher. Ideality. 

Kids. Yaas, it's vewry wemarkable how those phwen- 
ological fellaws lay out your bwains, and name them just 
like — aw — stweets. 

Dasher {aside). They must have labeled some of 
yours "- No Thoroughfare." 

Eva. O, don't talk about brains, Mr. Kids. The 
discussion of such a subject might fly to your head. 



THE BOSTON DIP. 223 

Dasher. And so light is the material there, cause a 
conflagration. 

Kids, Yaas, 5'aas, like a Mansard woof. And, Dashaw, 
I've got a diwectory of my bwains, and it's deiicedly 
clcvaw ; for if an ideah gets into my bwaius, I can trace 
it out in the diwectory, and tell just where it lies, you 
know, and know just where to find it. Deuced clevaw. 

Dasher (aside). 'Twould die of starvation before you 
found it. 

3Irs. M. (comes down). Ah, here's Munseer Adonis 
at last ! 

Enter MoNSiEUR Adonis, r. 

Mons. A. Charmant, charmant., leedies and gentimen, 
I. kees your hands. You do me proud. I feel ze glow 
of satisfaction in ze inermost inside of zis bosom, when 
you do me ze grande honneur to grace my salon wiz your 
presence. I feel ze glow all ovar. 

3Irs. 31. O, Munseer Adonis ! 

Eva. Politest of Frenchmen. 

Ida. Paragon of dancing-masters. 

3Ions. A. Pardon me, charmant medmoiselles and 
adorable madam, if ze modest blush of shame paint my 
cheek wiz ze hues of ze roses. I am ze humble instru- 
ment of ze divine art which gives ze grace to ze figure, 
and ze airy lightness to ze beautiful toes of madam and 
ze charmant medmoiselles. 

Eva. Now, Munseer Adonis, we are all impatience. 
"When will the dance begin? 

3lons. A. On ze instant. Ze company have assemble 
in ze grande salon. When madam and her friends make 
ze grande entree, zen will ze music strike ze signal. 

Ida. We are all ready. 



224 THE BOSTON DIP. 

• Mrs. 31. Muuseer Adouis, one word with you. 

Mons. A. Wiz ze uttermost pleasure. Am I not ze 
slave of ze matchless madam {aside) and her money. 
{They retire tip stage, and converse.) 

Dasher. Miss Eva, I must have an interview with 
you this evening. I have much to say. Meet me liere 
in half an hour. 

Uva. Certainly. I'll slip away at the first opportu- 
nity. 

Dasher. Thank you. The first dance is mine, you 
remember. 

Kids. Aw, Miss Ida, I must speak with you alone ; I 
must, weally. There's something on ray bwain — no — 
on my bweast, that must be welieved. Don't go. Stay 
behind with me. 

Ida. And lose the first dance ? — No, indeed. 

Kids. Weally, I couldn't ask that. Coulda't you con- 
twive to meet me here alone ? 

Ida. At the first opportunity. I'll do my best. 
{Rises.) Eva, one moment. 

Eva {rises and comes, c). Well, dear? 

Ida. Don't you think, Mr. Kids wants me to meet 
him here alone. 

Kva. Does he? The same thought must have wan- 
dered into his bwain that crept into Mr. Dasher's, for he 
expects me to meet him here alone. 

Ida. Do you know what it all means? 

Eva. Certainly — proposals. 

Ida. And will you permit Mr. Dasher — 

Eva. No, indeed. Marry that fickle thing? Never! 

Ida. Exactly my mind. Mr. Kid's a fool. 



THE BOSTON DIP. 225 

Eva. But, like Mr. Dasher, a splendid waltzer. We 
cannot afford to lose them. 

Ida. Indeed we cannot. Partners are so scarce. 

Eva. They want father's money. 

Ida.- But they must not have his daughters. 

Eva. No, indeed. You watch me, and I'll watch 
you, and there'll be no proposals. {Retire to R.'' and l. 
Monsieur Adonis and Mrs. Mulligrub come down 
stage.) 

3Irs. 31. And you got my note, Munseer Adonis? 

Mons. A. Ah, madam, I have it next my heart. {Pro- 
duces an envelope^ opens it, takes out note^ puts envelope in 
his pocket. Beads.) " Meet me in the private drawing- 
room when ze company are waltzing. Do not fail me, 
Hannah Mulligrub." Zat is all it say. 

3Irs. 31. But you know what it means. I am anxious 
to learn " The Boston Dip." Were I to come to your 
school I should be laughed at, but here, while the com- 
pany are waltzing, no one would know it, and the inspir- 
ing music would aid me. I don't want to make a fool 
of myself, you understand. 

3dons. A. Certainly. All zat I shall remember. I 
have written on ze back of ze note " Boston Dip." I put 
bim in jlq pocket wiz my handkerchief, so zat when I 
pull him out to Avipe my face ze note will arrest my at- 
tention, and I shall fly to you, madam. {Puts note and 
handkerchief in his pocket.) 

Mrs. M. O, you Frenchmen are so inveterate. 

Dasher. Come, Monsieur Adonis, the dance, the 
dance ! I'm all impatience {aside to Eva) for its 
end. 

15 



22G THE BOSTON DIP. 

Kids. Weally, the delay is vexatious ; it is, weally. 
(^Aside to Ida.) Meet me here, you know. 

Mons. A. Pardon me, I am all impatience. Cliar- 
manty madam, shall I have ze pleasure. {Offers his arm to 
Mrs. Mulligrub.) Ze night is ver warm, ver .warm. 
(^Music, " Beautiful Blue Danube." Monsieur Adonis 
takes out his handkerchief. The note falls on stage. He 
wipes his face, passes out door, b,., followed by Dasher 
and Eva, Kids and Ida.) 

Enter Mulligrub, c. 

Mulligrub. So, so, here we are, Mrs. Mulligrub, un- 
expectedly, and no doubt unwelcome. You imagine 
the old codger snoozing away at home, but here he 
is, and wide awake too. It's about time the head of 
the house knew what is going on. And here's where the 
money goes. Well, who cares ? There's lots of it, so 
let it fly. But I've a wonderful curiosity to know how 
my Hannah carries herself among all these fine snobs, 
so I'm bound to have a peep. {Goes toiuards door, r. 
Sees note on carpet.) Hallo ! what's this? a billy-deux? 
{Picking it up.) Where's my specs? {Beads.) "Meet 
me " — ho, ho ! here's a nice little plot — {reads) — " in 
the private drawing-room " — that's here — {reads) — 
" while the company are waltzing. Do not fail me. 
Hannah Mulligrub." My wife ! Ye gods and little 
fishes ! my wife. " Do not fail me." Is this the reward 
of my generosity? My wife! What does it mean? 
Who is the scoundrel that is tampering with the aflfec- 
tious of Hannah, and the peace of Moses Mulligrub? 
{Turns note over.) " Boston Dip." Who's he? "Bos- 



THE BOSTON DIP. 227 

ton Dip." There's a name. I've heard of the " Man- 
chester Pet," and the '' Dublin Baby," but the " Boston 
Dip," — confound him, let me get hold of him, and I'll 
Christen him with a dip that will drown him. Here's 
nice goings on ! A respectable wife, and a mother, too, 
making an appointment with au individual bearing such 
a name as that — '• Boston Dip." He shall not fail you, 
Mrs. M., but he must meet me too. I'll not stir from 
this place until I know what this means. This comes of 
letting women roam abroad when they should be kept at 
home. O, Mrs. MuUigrub ! if I don't cut down your pin 
money for this my name's not Moses Mulligrub. I'll not 
leave you a pin to stand on. {Takes chair; slams it 
doivn, c.) " Boston Dip." {Sits, and jumps up.) Gra- 
cious ! he must be a sparrer, and that's his fighting 
name. No matter, let him come on. {Sparring.) The 
old man's a little out of practice, but he's game. {Sits ; 
folds his arms.) If this little party does not end in a 
shindy, it won't be my fault. 

Dasher hacks in., r., loaving his handkerchief. 

Dasher. Does she mean to come? I cannot attract 
her attention. {Backs up still., waving his handkerchief.) 
Why don't she come? {Backs against Mulligrub's 
chair., sending it over, and Mulligrub on to the floor.) 
I beg your pardon. 

Mulligrub {picking himself up). Sir' 

Dasher. I really beg your pardon. Did you break 
anything? 

Mulligrub. No, sir ; but I shall presently break the- 
peace and your head. 



228 THE BOSTON DIP. 

Dasher. I beg you won't do anything of the kind. It 
was an accident ; and besides, you are trespassing here. 

Mulligruh. O, I am ! And pray, sir, will you be kind 
enough to explain the meaning of that remark? 

Dasher. Certainly. This is Mrs. Mulligrub's private 
drawing-room, where none but her friends are allowed 
to enter. 

Mulligrub. Indeed ! {Aside.) This must be " Dip." 
{Aloud.) Well, sir, I am one of her friends — a partic- 
ular friend. 

Dasher. I see : an old friend of the family. You're 
just the man I want to see. Yes, sir, the moment I set 
eyes on you I said to myself, " There's a man who can 
serve me." 

MalUgruh. Indeed — {aside) with a broken head. 

Dasher. Yes, sir. You know old Mulligrub? 

Mulligruh {aside). Old Mulligrub ! {Aloud.) Inti- 
mately. 

Dasher. Good. I've never seen him, but people say 
he's immensely rich. What do you say? Will he cut up 
well? 

Mulligrub {aside). " Cut up ! " Confound his impu- 
dence. 

Dasher. I've particular reasons for wishing to know. 
I may say, I am very much attached to a member of his 
family, you understand. I'm not mercenary ; but you 
know times are hard, and to make a respectable show in 
society, have a nice house, a half dozen fast horses, and 
all that sort of thing, requires money. Now, what I 
-want to know is this, will the old man shell out? 

Mulligrub. Shell out? Look here, young man, for 



THE BOSTON DIP. 229 

coolness you certainly would take the premium at the 
largest display of frozen wares in Alaska. If I don't 
answer your polite questions, it is because your audacity 
has so astounded me, that, hang me, if I know whether 
there is an old Mulligrub to " cut up " or " shell out " at 
all. (Aside.) It must certainly be " Dip." 

Dasher. O, you won't tell. Hush ! there's somebody 
coming — somebody who I am particularly anxious to 
meet alone, you understand. Just step out of that door 
('pointing^ c), that's a good fellow. 

Mulligrub. Sir, I shall do nothing of the kind. 

Dasher. But you must — only for a moment, and then 
you shall return. {Pushes him hack.) 

Mulligruh. Sir, do you know who I am? 

Dasher. Certainly ; a friend, of the family ; and, as a 
friend of the family, when the time comes you shall know 
all. Now go, that's a good fellow. {Pushes him back to 
door, c.) 

Mulligrub. But, sir, I shall not. {Aside.) Stop. 
I'll watch. {Aloud.) Very well, sir ; as I seem to be in 
the way, I will retire. 

Dasher. I knew you would — you're such a good 
feilo-A'. 

Mulligrub. Good fellow ! {Aside.) Confound his 
.impudence. \_Exit, c. 

Dasher. Ha, ha ! Got rid of him. {Comes down stage. 
Mulligrub enters, c, and steps behind screen.) Now for 
a tender interview with Miss Eva, ending in a proposal, 
which I know she will accept. {Enter Eva, c.) I knew 
you would come. 

Eva. Because I promised. O, Mr. Dasher, that 
waltz was delightful. 



230 THE BOSTON DIP. 

Dasher. Indeed ! I am glad you enjoyed it. If it 
gave you pleasure I should be satisfied, though my heart 
is heavy, and the waltz had little inspiration for me. 

Eva. Dear me, Mr. Dasher, you look as melancholy 
as an owl. What has gone wrong? 

Daslier. Nothing — everything — Miss Eva. I am 
on the verge of a precipice, a frightful precipice. (MuL- 
lighub's head appears above screen.) 

Mulligrub {aside). There's '*Dip" and — Eva, as I 
live ! 

Eva. I don't understand you, Mr. Dasher. 

Dasher, Upon the verge of a frightful precipice I tot- 
ter. Beneath me are the whitened bones of many a mor- 
tal. If I fall not a tear will be shed for me. • 

Mulligriib {aside). Nary a tear, young man. 

Dasher. 'Tis the valley of disappointed hopes. 

Mulligrub {aside). Dip's getting grave. 

Dasher. Into this must I fall, unless the succoring 
hand be stretched forth to me. 

Mulligrub {aside). The sucker ! 

Dasher. You, Miss Eva, you — admirable, divine, 
angelic — can stretch forth that hand to save Dasher 
from dashing himself into the valley. 

Eva. Mr. Dasher, have you been drinking? 

Dasher. Draughts of bliss from the fountain of love : 
basking in the sunshine of your presence. O, Miss Eva, 
will you save me ? 

Eva. Once again, Mr. Dasher, I tell you I do not un- 
derstand you. 

Mulligrub {aside). 'Twould puzzle a Dutchman. 

Dasher. Have I then been mistaken? have those little 



THE BOSTON DIP. 231 

delicate attentions which I fondly imagined were gaining 
for me a corner on your heart — ah, I mean in your 
heart — been wasted on the desert air? 
MidUrjruh (aside). Dip's getting airy. 
Dasher. Oti the brink of a precipice I stand — 
Mulligrub (aside). On the rocks again, Dip. 
Dasher. Can you see me ru^h headlong to ruin, an- 
gelic Eva. 

Mulligruh (aside). Dip's getting high — 
Dasher. You are the star of my destiny ; you are the 
piize for which I strive, you are the divinity of my ador- 
ation. Here on my knees — • (Falls on his knees l. of 
Eva.) I swear nothing shall part us. 

Enter Ida, r., hurriedly. 

Ida. O, quick, quick, Eva ! I've got you such a 
partner ! He's all impatience. Quick ! the music is just 
about to commence. I wouldn't have you lose him for 
the world. 

Eva. But Ida — 
■ Ida. Don't stop to talk. Come quick ! quick ! (Drags 
her off, R.) 

Mulligruh (aside). Ha, ha! Dip's left on the brink 
again. 

Dasher (jumping ujp). Confound that girl ! I've lost 
the chance. This comes of making a long story about a 
very short question. The precipice was a failure. I'll 
go and pump the friend of the family. (Exit, c. Mulli- 
grub comes from screen.) 

Mulligruh. That can't be Dip, after all. He's after 
Eva. But he can't have her. Thanks to his confiden- 



232 THE BOSTON DIP. 

tial assurance, I can send him over the precipice into 
the valley of disappointed hopes in short order. 

Enter Kids, c. 

Kids. Now weallv, I saw Miss Ida enter this woom, 
positively saw her, atid now she's gone. Hallo ! an in- 
trndaw. Sir, I have not, the honow of your acquaintance. 
This woom is the wesort, the westing-placa of a bevy of 
divine goddesses. No masculine mortals are allowed to 
entaw here. 

lluUigruh. Show ! then you are not a masculine mor- 
tal, I take it. 

Kids. Sir, you are impertinent. I am — I am a par- 
ticular fwiend of tlie lady who is the lawful possessor of 
this wesort. 

MuUigrub (aside). Can this be Dip? (Aloud.) Sir, 
I am a particular friend of the lady in question, being the 
brother of her husband's brother. 

Kids. Weally, the bwover of her husband's bwover. 
Pon honow, that's a sort of cwoss-eyed welation. 

MuUigrub. What do you mean by that? Do you 
doubt my right to be here ? 

Kids. Hey? wight? — no, no. (Aside.) He must 
be a witch welation. (Aloud.) Do you know Mr. Mul- 
ligwub ? 

MuUigrub. Intimately. 

Kids. I say, would it be a good inwestment to wun 
away with a membaw of his family? 

MuUigrub (aside). It must be Dip. Shall I mash 
him? No, no, the proof first. (Aloud.) Splendid! 
Can I help you ? 



THE BOSTON DIP. 233 

Kids. Well, I don't know. He's a wough specimen, 
and he so vulgaw. Sold fish in a handcart, too. I de- 
test fish, it's on such a low scale. Now isn't that good.'' 
It's owiginal, too. I don't like the odaw. Dreadful low 
people, but then, there's lots of money. Yaas, I think I 
will sacwafice myself. 

Mulligrub (aside). I'll sacrifice you, you monkey. 
(Aloud.) But tell me, who is the favored member of the 
family ? 

Kids. Hush ! somebody's coming. You must we- 
tire. 

Mulligruh. What, and lose the fun? No, I thank 

you. 

Kids. You must, weally. The lady is coming. It 
would shock her delicate nerves were you to be pwesent 
at the interview. So go, that's a dear fellah. {Pushes 
him hack^ o.) 

Mulligruh (aside). He calls me a good fellah. Shall 
I fell him on the spot? No, I'll wait; vengeance can 
afford to wait. 

Kids. Do wetire, and, when it's all ovaw, I will call 
you. (Pushes him bach, c.) Good fellah. 

Mulligruh. You'll call me when it's all over. (Aside.) 
I'll be on hand while it's going on. lExit, c. 

Kids. There, the bwover of the husband's bwover is 
excluded from the apartment of the wife of the bwover's 
husband — no, that ain't it, it's the bwover's wife's hus- 
band — no, or — (Mulligrub enters, c, and gets behind 
screen.) Here she comes, lovely as a poppy, because 
she's got a rich poppy. That's good — owiginal, too. 



234 THE BOSTON DIP. 



Enter Ida, r. 



Ida. Here I am, Mr. Kids, to fulfill my promise. 

Kids. Yaas, Miss Ida, like the bounding fawu that — 
that — weally, I forget what the bouniliug fawn was 
doiug — O, weallj, bounding, of course. That's very 
good — isn't it? — owiginal, too. But where was the 
bounding fawn bound? that's the question. 

Ida. I wish I could answer your question, but, not 
being versed in natural history, I am unable to say. 

Kids. Weally. Well, never mind the fawn. Listen, 
O, listen ! I'm a miserable wetch, I am. 

Ida. Miserable? you? 

Kids. Yaas, weally. I'm standing — I'm standing, 
— where am I standing? — O, on the bwink of a howid 
pwecipice. 

Mulligrub (sticking his head above screen) . Hallo ! 
another brink, another precipice, and — Ida, as I live. 

Ida. La, Mr, Kids, what a dangerous position. 

Ilalligruh {aside). Kids ; then it's not Dip, that's certain. 

Kids. O, dweadful, dweadfuL But you can save me. 

Ida. How, Mr. Kids? 

Kids. That's the ideah. Miss Ida ; for when a fellah 
is on the bwink of such a pwecipice, as the pwecipice I 
am on the bwink of, the best way to save him is to push 
him ovaw. 

Ida. Well, that's certainly an original idea. 

Kids. Yaas, it is an owiginal, idea — mine, too — I 
found it in my bwain, with the help of the diwectory. 
When a fellah's on the bwink of matwimony, of course 
his safety and his happiness is secured by his being 
pushed into it. You see my ideah. 



THE BOSTON DIP. 235 

Mulligruh (aside). Deuced clumsy one. 

Ida. But how can I help you? 

Kids. By pushing me ovaw. Miss Ida, you are be- 
witching, you are lovely, you are divine, and on my 
knees I ask you {falls on his knees l. of Ida) to give 
me a push. 

Mulligrub (aside). Confounded jackass. 

Ida. But, Mr. Kids, I don't understand. You're so 
— so — (Aside.) Where can Eva be ? (Aloud.) You 
say you are on the brink of a precipice. 

Kids. Howid, howid ; and if you consent to be — 

Enter Eva, r. 

Kva. Quick, quick, Ida ! mother's fainted. 

Ida. You don't mean it? 

Kva. Yes, yes, come quick ! What are you wait- 
ing for? 

Ida. But Mr. Kids is on the brink of a precipice. 

Eva. Let him stay there. Come with me. (Drags 
Eva off, R.) 

Mullifjruh (aside). Won't somebody be kind enough 
to remove that precipice? 

Kids (rising). Yaas, weally, that owiginal ideah 
will kill me, I know it will. I must go and bathe my 
head in Cologne, I must weally. Miss Ida didn't push 
well ; in fact, I don't believe she's fond of pushing fel- 
lah's ovaw, I don't, weally. \_Exil, c. 

3IulUgrub (comes fronn behind screen). I don't think 
that's Dip — I don't, weally. Egad ! those girls of 
mine are determined not to be caught by chaff. I 
wonder if I can say as much for the old lady. I wish 



236 THE BOSTON DIP. 

she would make her appearance. This must be the 
room. Ah, here she comes. Now for something in- 
teresting. {Bans beJiind screen.) 

E liter Mbs. Mulligrub, r. 

Mrs. 31. The fiddlers are tuning up for a waltz, and 
if Munseer Adonis is to keep his word now is the 
time. I wonder what Moses would say if he knew 
what I was about. But he can't know. He's safe at 
home, and there's certainly no harm in obtaining a 
graceful inquisition to my other accomplishments. (Music, 
Beautiful Blue Danube, soft and low.) There they go. 
O, isn't that splendid. ( Waltzes about stage in a very 
awkward manner.) 

Mulligrub {with head above screen). What's the mat- 
ter with Hannah? She's bobbing about the room like 
a turkey with's its head off. 

Enter Monsieur Adonis, r. 

Mons. A. Charmant, charmant ! {Music stops.) Madam, 
you are ze ecstasy of motion. You have ze grace of 
ze antelope, and ze step of ze fairy. 

Mrs. M. O, don't! You have come — 

Mons. A. Wiz ze " Boston Dip," as I have promise. 

Mulligrub {aside). " Boston Dip." That's him — 
the scoundrel ! 

Mrs. M. O, I'm so nervous. 

Mulligrub {aside). You ought to be, you hypocrite. 

Mons, M. Zar is not ze least occasion. We are 
here alone. 

Mulligrub {aside). Not quite. Dip, not quite. 



THE BOSTON DIP. 237 

Mons. A. No one will dare to eater here. Zar is 
noae to look at you but I, and am I not discretion 
itself, madam? 

3Ivs. 31. O, you are the soul of honor. 

Mu.U'ujrub [aside). Humbug! 

MoiiS. M. Now, zar is no time to lose. Permit me. 
(Takes her hand and leads her c.) 

MulUijruh {cLsidv). Dip's taking her hand. I shall 
choke ! 

Mons. A. Put your left hand in mine — p so. 

Mulligruh (aside). She obeys him. Ah, faithless 
Hannah ! 

lions. A. Zat is good. Do not tremble — zar is no 
danger. 

Mulligruh (aside). Don't be so sure of that. 

Mons. A. Now, my arm around your waist — so. 

3Iulligruh (aside). O, perfidious Hannah! 

3Ions. A. Now let your head drop upon ze collar of 
my coat. Ah, zat is good, zat is exquisite. 

^lulligruh. She presses his collar, and my cholar is 
rising. I shall choke with rage. 

3Ions. 31. All right. Now, one, two, three, and 
off we go. 

Mulligruh (pushing the screen over on to the floor. Dis- 
covered standing in a chair, with doubled flst). Stop! 
(Very loud.) 

31rs, 31. Ah ! (Screams, and falls into MONSIEUR 
Adonis's arms.) 

3Ions. A. Sacre ! Who calls so loud? 

3Iulligruh. An injured husband. 

Mrs. 31. (jumping up). O, it's Moses I 



238 THE BOSTON DIP. 

Mulligruh. Yes, it is Moses ! Moses the deluded ; 
Moses the deceived ; Moses the betrayed ; Moses oq 
the brink of a precipice. 

Mans. A. Moses! — Who be Moses? 

Mrs. M. My husband. 

Mons. A. Monsieur Mulligrub ! O, ze light break 
upon my head. 

Mulligrub (jumping down). Tremble, rascal ! You're 
discovered. Woman, begone ! O, Hannah ! can I 
•believe my.eyes. You — ^^you make an appointment 
with such a miserable, contemptible, saeaking cur as 
that? But I'll be revenged, rascal! (Takes Mon- 
sieur Adonis hij throat.) Bkister of peaceful families 
(shaJcing him), I'll have your life ! 

Mons. A. Help ! help ! I am choke all over too 
much ! Plelp ! help ! 

Mrs. M. O, Moses, spare him ! 

Mulligrub. Never ! I'll shake the life out of him. 
Rascal ! 

Mons. A. Help ! somebody, quick I 

Mulligrub. Scoundrel I 

Mons. A. Help 1 help I He squeeze my "windpipe 
all too much. 

Enter, r., Ida and Eva. ; c, Dasher and Kids. 

Eva. Father here? 

Ida. And fiorhtino:? 

Dasher. What is the meaning of this? 

Kids. Weally, a wow, a wiot, a wumpus ! 

Mulligrub. Meaning of it ! Look at this miserable 
wretch ! — this thing who answers to the name of 
"Boston Dip." 



THE BOSTON DIP. 239 

All. "Boston Dip." 

3Ions. A. Sar, you insult mc. My name is Mon- 
sieur Acliilles Adonis. 

Eva. And "Boston Dip" is the name given to the 
latest movement of the waltz. 

MulUgrich. What, not the name of an individual? 
Then, what is the meaning of that? {Shows note,) 

Mors. A. Zat is my note, monsieur. 

Mrs. M. Yes, w^-itted by me to Monsieur Adonis, 
asking him to give me a private lesson here. 

Eva. And father thought it a love aSiiir? O, 
father ! 

Ida. A man with the name of " Boston Dip ! " O, 

father ! 

Dasher. Friend of the family, you've made a mis- 
take. 

Kids. Yaas, dipped into the wong man. Now isn't 
that good — owiginal, too. 

MulUgrah {looks at each in a foolish manner, then 
takes Mrs. Mulligrub by the hand; leads her c, and 
kneels). Hannah, I'm on the brink of a frightful prec- 
ipice. I've made a fool of myself. Forgive me, and 
let's go home. 

3Irs. M. I think you have, Moses. 
Dasher. There's not the least doubt of it. 
Kids. Yaas, Moses into the buU-wushes ! That's 
good — weally owiginal, too. 

Mulligrub {rising). Monsieur Adonis, I beg your 
pardon for my rudeness. I will make amends, ample 
reparation. Greenbacks shall shower upon your classic 
academy. To you, gentlemen, I need make no apolo- 



240 THE BOSTON DIP. 

gies. You see tho old man has *' cut up," and per- 
haps may be made to " shell out." I don't think my 
girls will bo able to assist you on that precipice. With 
your permission, I will retire. 

Eva. Doa't go, father. Stay and enjoy yourself. 

Ida. And see us waltz. We have spleudid partners. 

Mons. A. Proficient in all ze elegancies of ze art. 

Mrs. 31. Moses, I'm ashamed of you. You're really 
proficient in the usages of fashionable depravity ; but I'll 
forgive you, and make you acquainted with my new 
flame, one which you so grievously mistook, my harm- 
less pet, '* The Boston Dip." (^Miisic, Beautiful Blue 
Danube. Mr. Mulligrub hows,, and retires up,, c. 
Waltz, Monsieur Adonis and Mrs. Mulligrub ; 
Dasher and Eva ; Kids and Ida.) 

CURTAIN. 



SPENCER'S UNIVERSAL STAGE. 



"1 



I>iainond cut 1>ianioiid. An In- 
terlude in One Act. By W.H.Mur- 
ray. 10 Male, 1 Female character. 

Liook. after Brown. A Farce in 
One Act. By George A. Stuart, 
M. D. 6 Male, 1 Female character. 

Monseisneur. A Drama in Three 
Acts. By Thomas Archer. 15 Male, 
3 Female characters. j 

A very pleasant Evening. A 
Farce in One Act. By W. E. Suter. 

3 Male characters. 

Brother Ben. A Farce in One 
Act. By J. M. Morton. 3 Male, 3 
Female characters. 

Only a Clod. A Comic Drama in 
One Act. By J. P. Simpson. 4 Male, 

1 Female character. 
Gaspardo tlie Gondolier. A 

Drama in Three Acts. By George 
Almar. 10 Male, 2 Female charac- 
ters. 

Sunsliine tfiroughi the Clouds. 
A Drama in One Act, By Slingsby 
Lawrence. 3 Male, 3 Female char- 
acters. 

Bon't Judge by Appearances. 
A Farce in One Act. By J. M. Mor- 
ton. 3 Male, 2 Female characters. 

IVursey Chick-weed. A Farce in 
One Act. By T. J. Williams. 4 
Male, 2 Female characters. ! 

Mary Moo; or, IVhich shall I 
Marry? A Farce in One Act. By I 
W. E. Suter. 2 Male, 1 Female 
character. 

Ii]ast liynne. A Drama in Five 
Acts. 8 Male, 7 Female characters. 

The Hidden Hand. A Drama in 
Five Acts. By Kobert .Jones. Itj 
Male, 7 Female cliaracters. 

Silverstone's ^Vager. ACommedi- 
etta in One Act. By K. R. Andrews, i 

4 Male, 3 Female characters. 
Dora. A Pastoral Drama in Three 

Acts. By Charles Reade. 5 Male, 

2 Female characters. i 
Blanks and Prizes. A Farce in 

One Act. By Dexter Smith. 6 
Male, 2 Female characters. ; 

Old Gooseberry. A Farce in One 
Act. By T. J. Williams. 4 Male, 
2 Female characters. 



53. Who's Who. A Farce in One Act. 

By T. J. Williams. 3 Male, 2 Fe- 
male characters. 

54. Bouquet. A Farce in One Act. 2 

Male, 3 Female characters. 

55. The Wife's Secret. A Play in 

Five Acts. By George W. Lovell. 
10 Male, 2 Female characters. 
50. The Babes in the Wood. A 
Comedy in Three Acts. By Tom 
Taylor. 10 Male, 3 Female charac- 
ters. 

57. Putkins : Heir to Castles in the 

Air. A Comic Drama in One Act. 
By W. R. Emerson. 2 Male, 2 Fe- 
male characters. 

58. An Ugly Customer. A Farce in 

One Act. By Thomas J. Williams. 
3 Male, 2 Female characters. 

59. Blue and Cherry. A Comedy in 

One Act. 3 Male, 2 Female charac- 
ters. 

60. A Boubtful Victory. A Comedy 

in One Act. 3 Male, 2 Female char- 
acters. 
(51. The Scarlet Iietter. A Drama in 
Three Acts. 8 Male, 7 Female char- 
acters. 

62. Which will have Him P A Vau- 

deville. 1 Male, 2 Female charac- 
ters. 

63. Madam is Abed. A "Vaudeville in 

One Act. 2 Male, 2 Female charac- 
ters. 

64. The Anonymous Kiss. A Vaude- 

ville. 2 Male, 2 Female characters. 

65. The Cleft Stick. A Comedy in 

Three Acts. 5 Male, 3 Female char- 
acters. 
(>6. A Soldier, a Sailor, a Tinker, 
and a Tailor. A Farce in One 
Act. 4 Male, 2 Female characters. 

67. Give a Bog a Bad JVame. A 

Farce. 2 Male, 2 Female Characters. 

68. Bamon and Pythias. A Farce. 

<■) Male, 4 Female characters. 

69. A Husband to Order. A Serio- 

Comic Drarna in Two Acts. 5 Male, 
3 Female characters. 

70. Payable on Bemand. A Domes- 

tic Drama in Two Acts. 7 Male, 1 
Female character. 



Price, IS cents each. Descriptive Catalogue mailed free on application to 
CEO. M. BAKER & CO., 



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A^r ' ".- ^ W ■ ' K.J ^-- ' ' -.^W ' ^U' L.'W L, ^^ 



'"^ Plays for Amateui 'JI^:?^::^'\ 

By GEORGE M. BAKER. 

Author of '^An,ateur Dra,„n.:' ■ /V -'^^'^ „^;';';^^^^.*;:"'' •''"^'" ' '"" ^'-' '""-"-'" ^■«''*- 
Titles in this Type are I\ew Plays. 



C7.V 



DHAMAS. 

In Three A cts. 
My Brotlier's Keeper. 5 male, 3 
female characters '5 

In Two Acts. 

Among the Breakers. 6 male, 4 
female characters 5 

Sylvia's Soldier. 3 male, 2 female char- 
acters '5 

Once on a Time. 4 male, 2 female char- 
acters '5 

Down by the Sea. 6 male, 3 female 
characters '5 

Bread on the Waters. 5 male, 3 fe- 
male characters 5 

The Last Loaf. 5 '"^le, 3 female char- 
acters '5 

In One A ct. 

Stand BY the Flag. 5 male characters. 15 

The Tempter. 3 male, i female charac. 15 

COMEDIES and PAHCES. 

The Boston Dip. 4 male, 3 female 
characters 

The l>uchess of I>ublin. 6 mak-, 
4 female characters 

We'ke all Teetotalers. 4 male, 2 
female characters 

A Drop too Much. 4 male, 2 female 
characters 

Thirty Minutes for Refreshments. 
4 male, 3 female characters 

A Little More Cider. 5 male, 3 fe- 
male characters 

Male Cluiracters Only. 
Cientlenien of the Jriry. 12 char. 
A Tentler Attachment. 7 char. . . 
The Thief of Time. 6 char. . . . 
The Hypochondriac. 5 char. . . 
A Public Benefactor. 6 char. . . 

The Runaways. 4 char 

Coals of Fire. 6 char 

Wanted, a Male Cook. 4 char. . . . 
A Sea ok Troubles. 8 char 



FAaCES. 

Fkekdom ok the Press. 8 char. ... 15 

A Close Shave. 6 char 15 

The Great Elixir. 9 char 15 

The Man with the Demijohn. 4char. 15 

Humors ok the Strike. 8 char. ... 15 

New Brooms Sweep Clean. 6 char. . • 15 

My Uncle the Captain. 6 char. ... 15 
Female Characters Only. 

The Red Chignon. 6 char 15 

Using the Weed. 7 char. .... 15 

A t,o\^e of a Bonnet. 5 char. ... 15 

A Precious Pickle. 6 char 15 

The Greatest Plague in Life. 8cha. 15 

No Cure, no Pay. 7 char 15 

The Grecian Bend. 7 char. 15 



ALLEGOHIES. 

A rrauged for JSIusic and Tableaux. 

The Revolt of the Bees. 9 female 
characters ^ . . i 

Lightheart's Pilgrimage. 8 female 
characters ' 

The War ok the Roses. 8 female char- 
acters 

The Sculptor's Triumph, i male, 4 fe- 
male characters ^5 

MUSICAL AND DRAMATIC. 

The Seven Ages. A Tableau En- 
tertainment. Numerous male and fe- 
male characters "^^ 

Too Late for the Train. 2 male char- 
acters ^5 

Snow hound ; or. Alonzo the Brave 
and the Fair Imogene. 3 male, i 
female character. 25 

Bonbons : or, The Paint-King. 3 male, 
I female character 25 

The Peulek of Very Nice. 7 male 
characters ^5 

An Original Idea. i male, 1 female 
character ^5 

Capuletta ; or, Romeo and Juliet 
Restored. 3 male, i female character. 15 




TEMPKMAyCE riECES. 

The Last Loak. 5 male, 3 female characters 

The Tempter. 3 male, i female character 

We're all Teetotalers. 4 male, 2 female characters. 
A Drop too Much. 4 male, 2 female characters. 
A Little Moke Cider. 5 male, 3 female character! 
Thk Man with the Di'Mijohn. 4 charaitv^i 




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